Abbas' film is naturally contemplative.
The gloomy middle-aged male protagonist drives a car, looking for someone who can bury himself in the vast crowd. He searched all day. Three people were found: a soldier, a seminary student, and a taxidermist at the natural museum. The soldier is a big kid, the student is about to graduate, and the museum clerk is an old man. He took them to a cherry tree with a hole under it. At night, he would take a lot of sleeping pills and lie there, waiting for death to come. And they, as agreed, will call him twice when the morning comes: Mr. Buddy, Mr. Buddy. If he answers, pull him out, if he doesn't answer, bury him. In return, they could get 200,000 Iranian dollars whether he died or not.
He calculated very well, even how much shovel needed. 20 shovels, only 20 shovels, not difficult, please bury me.
There are several scenes in the film that are very touching.
Example: Buddy sat down on the big boulders in the quarry as if he was asleep. The workers came to call Buddy, are you crazy, are you going to buy cement, are you sick... After a long time, he opened his dust-blinded eyelids, raised his head slowly, and looked at the ignorance he was born with. The voice that conspires with the rough world.
The world is so rough. And man, man is a creature that needs love and sympathy, a composition so beautiful and fragile.
For example: Mr. Buddy still came under the cherry tree that night. The camera is his back, and he is seen smoking a cigarette in the distance. Get up. Then the camera suddenly cuts to his face in the pit.
The film never took us to see that pit. I didn't expect it to be such a shallow and small pit, which can only be accommodated.
This tomb, so shallow and so small, cannot hold death, but just places the contemplation of life.
It's the weather before the thunderstorm. The thunder rolled across the distant sky, rumbled a few times from time to time. Bright white lightning instantly illuminated Mr. Buddy's face. The dry cherry leaves were small, blown off the edge of the pit by the wind, and landed on his face. Buddy stared wide-eyed at the sky. Black screen. Black screen. lightning. Mr. Buddy's face seemed to have changed a little, there seemed to be tears in the corners of his eyes, and there seemed to be a smile in the corners of his mouth. Long black screen.
Although "The Taste of Cherry" has very emotional scenes, it still feels allegorical to the audience. In any case, cinema cannot always be equated with religion or philosophy. Preaching, or the tendency to over-affirmative thinking, has always played a role in downplaying the meaning of the film. Is that so?
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